It's ok for forearms to touch (perpendicular to ground) or leave some space (forearm is forward), but never bend arm 'backward'. Keep tone in arm.

Fingers of man's left hand closed around lady's right hand.

Depending on height differences, Lady's upper arm is probably close to parallel to floor.

Stand about 6in apart from partner.

Open hold:

(Lady) keep tone in the arm, elbow "out" or "down" - different instructors have different preferences. But the important part is to keep tone in arm. Some find arms on the side with elbow down is more natural.

Man should hold the lady's hand with thumb on the back of her hand, the first two fingers on the palm of her hand, with just tight enough a grip to clearly lead and communicate his position.

Lead at lady's waist level.

Stand at about arms length from partner.

Getting into position in Latin dances (basic way):

Man raises his energy and offers his left hand.

Lady: pause, see, and sense. Respond with right hand.

Spine positions

With one foot in front of another:

Spine split between 2 feet. (Both feet flat.)

Spine stacked over whole foot. (The other foot is "demi-pointe" position.)

Body isolation and Figure 8

Whole body is working in figure 8 (not just hips). It creates the characteristics of the dance. It is about the internal state of the body. Anytime an external part is moved, think about how it's created using internal part of body. Core movements are connected to all external movements.

3 different isolation used in Figure 8:

Twisting (Practice with feet together. Straight knees.) Twist left and right. This action is most important. A lot of power. Really stretch (on 41). Get deeper in the action.

Twisting is when turn commences in hips only.

Rotational: hip rotates around spine.

Twisting in Latin dances is often associated with leg movement.

This is also the action for "settling" which happens on straight leg, on "&" beat. It commences hip movement, it often causes the other foot to move horizontally.

Compression: (Practice with feet together.) Hip moves laterally. For this exercise, do not allow hip to twist and move back. Squeeze, compress sides.

You could isolate hips without bending knees. Or, you could allow knees to bend.

Compression creates a high hip on the compressed side.

When compressing one side, that side's energy should be going up (not down), think about "opposition".

Lateral: Hips move to left and right with minimal rotation. Some dancers dance ChaCha Chasse using lateral movement. 4&: the 2 steps have equal weight distribution.

In Latin dances, pendulum action is associated with weight/spinal transfer.

"Cuban motion is the result of bending and straightening the knees" - a simple way of describing it in some studios when teaching beginners. Use muscle in the core to develop proper figure 8 action as described in details below.

Figure 8

Twisting: Keep the compression, then twist, still has L hip high, R hip low. Hips are on diagonal. This creates internal space. Do not allow rib cage to rotation with hip. When you twist and take left hip back, take left shoulder forward (not back) in opposition.

Pendulum diagonally forward to right. Fill the internal space with body action. Now, R hip is high, L hip is low. Don't clip this short and start twisting early. To make action full with more power, finish pendulum action to create more circumference.

The default movement is to not do ribcage displacement, pendulum and transfer weight at the same time, the spine and hip arrive on right foot together.

As a choice and for effect, one could choose to do ribcage displacement (moving ribcage first to right and delay pendulum action) - but do not use this as default movement.

Compress on the right side, just having R hip even higher. Transfer full weight on RF.

Twist to right and back.

Pendulum diagonally forward to left. (When there is a partner, the partners are working "in" toward each other. Keep body weight forward.) [Repeat]

The figure 8 body action should be going on through out the dance. Body needs to be active at all times. It could be slowed down, but not stopped.

Rib cage has figure 8 action as well. It is layered with the hip figure 8 action.

Latin Movements

Forward Walks - Putting Spine, Hips, Legs and Feet together

Every step commences with a slight flexed knee. Knee straightens just before it gets to its position.

Internal action: compress on left side (vertical action), causing R leg's vertical action (compress thighs pushing knee down and back). R leg goes through pointe (at this time hip is still behind, L hip high on back foot), demi-pointe,flataction (at this point, both feet are flat, split weight.) Spine is moving slightly forward.

L hip high, R hip low. hip is diagonal now. Do not attempt to increase hip motion by sticking head forward and butt back. Use compression, there is no break at hip. Get hip, rib cage, head on one vertical line. Do as much hip motion as you can while keeping body alignment.

Rotate L side around spine more, open L side, LF toe turns out

Push LF to demi-pointeto move spine forward, spine on whole foot, in the meantime, hips are neutral, but diagonal.

Focus on connected movement, moving spine forward as the same time of pushing foot to demi-point, do not push foot and leaving hip back to attempt to create high hip in the back.

Continue LF to pointe, spine on front of R foot, compress R side, this is reaching the maximum, R hip is high, L hip is low, still same diagonal.

At the same time, body should not bend backward. Keep body alignment. Do not isolate the upper body. The whole upper body moves as a unit.

From shoulder, there is downward pressure, compress. Create curve flared front leg, it's on the edge of moving/twisting.

At this time, the LF (back foot) could have slightly more turn out. (Turned out toe will end in line with heel of front foot.)

Finish with tail bone down. Use pressure on back foot, ankle downward. So there is good axis for swivel/direction change.

If it feels balance is off, first check alignment of body, shoulder should be square to front (there is the opposition to the hips, i.e. if left hip is back, left shoulder should feel forward, the opposition - this helps with the balance.)

Spine moves steadily over the foot and continue to move throughout the steps.

Spine and hips movement could slow down or speed up, but never stops. Feet and leg movement could stop.

Feet are like the drums: sharp and staccato (it has a pausing action and then place).

Connection actions: Do not place the foot without moving the spine (except when it's intentional delayed walk). You want them to be connected. Hip has connected movement with spine.

Pendulum action of hips is connected to transferring of the spine. When hips swings forward, spine moves forward.

Twisting action of the hips is connected with the movement of the legs.

Back Walks

For back walks, body and hip just have lateral, pendulum action (only for consecutive backward actions) - no twist. (If figure 8 were to be done, it would need to be "backward" figure 8 to make leg move the right direction - backward. Normal figure 8 is such that it moves legs forward, not backward.)

Keep body weight more forward.

Start with RF in front. Weight on LF. Imagine a string pulling from left side to R toe.

On "&", contract, squeeze left side (laterally), it pulls the string to move the R leg.

Quick release the R knee, do not drag toe/leg back.
Do not let gravity take the body back. This actually allows for longer leg lines and faster/sharper leg action.

Connected movement (hip and leg).

It's important to release the foot ahead of the spine. Do not pull body back. Body is quite forward.

Track with inside edge of RF till it gets to the "important spot" where the two knees are "locked together" (the bones on 2 knees fits perfectly together). This is as big a back step as it gets. Keep it small, if the step is too big, butt/hip will stick out when settling on it.

Upper thighs are very close and tight. The whole time - keep body forward, do not let it fall back, do not let gravity take the step.

At this spot (this is the marker for all backwards steps), RF is on pointe position, then put RF down in demi-pointe position (demi in the perpendicular position, not too flat, do not point the back foot first, then make it demi-pointe).

Then roll RF downflat (straightening back leg), going to split weight position. Maintain the forward pressure on front foot (like elder's cane). This is the point when you have both feet flat. Do not start releasing front heel until back foot is flat, i.e. do not go on balls of both feet at any one time. Back foot has controlled lowering. (Slight turn out, not too much, otherwise the other foot is going to click on it.)

Stretch the front leg, LF goes to demi-pointe, then pointe. At this time, hip is neutral, both legs are straight. (Always pointe front toe when stepping back.)

It's the pushing LF from flat to demi to pointe that made hips neutral.

Front foot (LF) should not slide on floor when RF receives weight. If that happens, it means momentum is dragging body back. Don't do that. Need to keep body in forward poise and use muscle to release LF and point it back.

There is no more settling, twisting in back walks, that would be pulling energy away from partner. Though this is walking back, the energy is still toward your partner.

Contract right side, LF pushes the floor, quick release L knee, do not let body fall back on its own. Body is quite forward. (repeat)

The main difference in "41" between Forward and Back Walk

Leg in Back Walk accelerates ahead of spine and slowly accepts weight.

Side Steps

Side step size: stand on one foot, point the other foot to the side (without moving spine). Step the other foot down, generally it's right under the shoulder. That's how much the feet are apart from each other.

Keep pressing inside edge of ball of foot (IEBF) into floor. Rotate ankle downward "breaking ankle". The feet moves the spine. Never begin to transfer weight until the stepping leg is straight.

Example: stepping RF to right side (using Rumba timing):

"2": L side twist,RF track with inside edge to side directly to the spot.

(Not like other dances, if RF starts in the back, it does not go in to LF first and then out, do not do 90 degree angle.)

At this time, full weight is still on left leg, RF IEBF is pressed into floor. (Leading with ribs to right for greater effect.)

Compress left side to straighten R leg. place right heel on floor.

Step size: Ankle below the shoulder for the side step, not bigger.

Allow R leg to straighten at the same time moving spine to a split weight position. Straight, split weight on flat foot.

With two straight legs, both heels on floor, roll using inside edge of the feet. Roll onto RF, feet moves spine. Outside of LF peel off floor, till it can't peel anymore, go to demi-pointe, and then to pointe when it's appropriate (When pointing - use sickeled ankle, ankle aiming down the ground.)

Pendulum action to diagonal right.

R hip is high, L hip is low.

"&": R hip twist to draw inside edge of toe close to the other foot. heel leads the rest of the foot, pressure IEBF of LF on floor maintained until left heel is brushing right ankle, left knee crossing in front of right leg.

Two feet are closed now.

No artificial "tick" tilting pelvis forward. center/spine moving is a result of figure 8.

These are traditionally executed with both heels remaining on floor, it is now often seen in competitions, and acceptable, to create the line with the free foot. (Lift heel of the foot without weight, pressing with IEB for greater extension.)

Lead with the ribs: (only do this for greater effect after fundamentals are solid)

The hips on their own can't move very much. The ribs moving in opposition to the hips creates the appearance of much more action.

As you transfer weight, lead with the ribs, and as the hips come over, switch move the ribs the other way.

Leg and upper body is on straight line,
no bending line at hip joint. (Think about level fruit basket.)

Test - completely over the foot. Do (ballet) passe to test. Should be able to stand on the foot without adjustment.

Hips are locked down, rib cage sits right on top - whole solid axis

Pull the right side back (twisting R hip), swivel on axis.

Twist the core, not using shoulder.

To stop the turn and not throw off balance, use opposition - after twisting to R, R side of body keep forward (while R hip it continuing turning to R)

For basic swivel actions

Do not pause and have free leg hang by standing leg before stepping out. (Advanced dancers may make conscious choice to add accent.) Make it all one action, moving foot continue to the position where ankle below the knee, then use vertical action to push knee down and stop at split weight position.

Axis to rotate around is not completely over the foot. It in the middle/center of the two feet.

There is pressure on the back toe.

From split weight position, feet flat. When rotating, energy comes from the back foot and leg. apply pressure on ball of the back foot, rotate around the center axis. The pressing causes the turning.

This is not heel turn. Turn is made on ball of foot while keeping foot flat.

The other foot (e.g. RF, the one originally in front) stays flat while turning on ball.

Keep pressure on ball of LF foot.

Do not rise and turn on ball of both feet which will make body "pop up". Body height stays flat.

Ending with LF on demi-pointe, proping cane, straight legs. Body is still forward.

Make sure spine does not keep on moving back during the turn. This
allows either forward, backward, side movement. Compress on right side
to continue.

To continue moving backward, point the foot, release knee and move back.

To continue moving forward, continue to twist hip, lower left heel and press to flat and continue.

In some figures, "Forward Walk Turn Action" is used, it is referring to the use of pressure in the back toe to rotate and turn. The back toe will keep pressure. In some dances (Rumba, slower), sometimes, you'd want to emphasize the full transfer of the weight to standing leg (for brush action in Alemana). For Switch Turn, do the normal Forward Walk turn because it's much quicker.

When practicing these specific points, eliminate all other extra little things that the body (arms, hands) tends to want to do.

Turns can be either sharp, quick, sudden OR steady, slow sustained - two contrasting energies.

A turn made on supporting foot before next step is placed starts at the end of preceding step (previous '&' or 'a' beat).

Full spin on one foot to left and right: (Example: Lady's turn on LF when finishing Fencing or in Three Threes)

Start with good posture, weight is on one foot, stand completely over a straight leg, point the other foot to the side, tummy muscle up, arms winds to left when turning right.

Head spot forward. Turn on ball of the the foot (not on edge).

During the turn, the other foot closes to turning foot, arms close to body.

Use sudden impulse from foot, use the twist in hip, center turning axis on turning foot, the other foot trails along on the side, use ball of trailing foot to stop the turn by stepping side. (could use arms out to stop turn as well.)

Do not over swing the upper body in order to gain speed, that will throw lady off balance.

Spiral Turns:

Check posture, tighten tummy, very strong center.

Rumba Timing: start with RF back break, LF replace, RF small step forward track underneath the body, slightly across LF. There is a bit of wind up.

Use head spotting - it will make turn look a lot sharper. Keep head looking forward, turning body and hips left to unwind, turn head sharply and continue to turn body and wrap the free foot in figure 4 position.

At beginning of turn, there is weight on both feet. At end of turn, weight is mostly on RF (supporting foot).

There are a few different styles of Spiral Turns:

High Spiral: Forward Walk turn and continue to turn while keeping the other non-weight bearing leg straight.

Example: for Left Spiral - step RF forward, forward walk turn 1/2 turn, continue to turn left with L leg straight (with toe almost on floor); then twist R hip back more to put LF down.

Verbal: not used very much in ballroom and Latin dancing. But there are some auditory cues - sound of breath, stomping feet on floor - are used slightly, sometimes by advanced dancers.

Follow: Always follow the spine. Relate to what Man does.

Lady could be too early - don't do that. do not go ahead of Man, always commit fully and transfer weight, solid steps.

Be very aware of partner's transfer of weight. Make conscious choice.

Lady is "echoing" Man. Delay action: seeing, sensing and then doing. This could be mirroring Man's movement, or doing something different.

Lady needs to keep the rhythm she is put in till she sense the change of timing.

Connection:

Remember opposition: e.g. when Lady steps RF back, her right hand connects to Man's left hand in open position, do not pull Man back, when RF steps back, the energy in Lady's right hand should be forward to Man.

Advanced Technique

Delayed Walk

Lady:

Start with LF in front, in responding to Man, quick release L leg to back, straight; keep L leg in a straight line, delay moving spine back. Move on the very end "&" (in "1&").

Connection: do not push partner. Keep same tone in the connection hands.

Flexible Turns

Direct turns (as discussed in Common Movements): this is basic technique, everything move in one piece. Switching actions is direct turns.

Flexible turns are more advanced: upper half is going to go first, then the lower half. This helps to create the sharp look.

Swivel: twist upper body as much as you can, creates torque, delay foot, and then at the very end (before the beat), very quickly unwind and places the foot.

Hold 3: Man's RH
on or below Lady's R shoulder blade, LH holding her RH in front of the
bodies just below chest level. Lady's L arm is held across front of her
body, just below or above the joined hands.

Tandem Position (Gold)

Lady directly in front of Man, both facing same way.

Styling

Latin Styling describes Latin dynamics, body design, the use of space, hands, arms and other points on styling.